Creeber defines old and new media, through two time periods, Modernism and Post Modernism. Post-modernism can partly be understood as "the inevitable by-product of a consumer society, where consumption and leisure now determine our experiences rather than work and production" (Creeber, 2009, p.15). The increase 'Participatory culture' creating virtual communities allows participation from individuals and corporations "to become ‘producers’ as well as ‘receivers’ of the media" (Creeber, 2009, p.19).
Creebers ideas of participatory culture coincide with Henry Jenkins' three key terms of "convergence, collective intelligence and participation" (Jenkins, 2006, p.47).
The participatory culture are able to then take a image from another, using digital devices such as cameras and computers to create a image or other mediums with there own take of an image. Using virtual communities such as Facebook and Tumblr along with video and image platforms such as YouTube and 4chan to create these texts. Although, this did not just happen with the invention of digital media or just within New Media. Marcel Duchamp, an artist who took images like the Mona Lisa, adding a moustache to the piece of art and anchored with some text. This under Lev Manovich's classification of New media would be a variability and also wouldn't not be because nothing was digitized but would suggest that the idea of New Media began with the age of mass production.
Like Manovich, who wants a new theory of authorship to help us to understand media, Creeber believes that there should be a "new theoretical framework which allows us to understand and appreciate both the positive and negative features of our current media age" (Creeber, 2009, p.21). With there being no set theoretical framework and no authorship to understand the concept of new media, there will be a growth in technology, to try and understand, more collective knowledge to try to comprehend what is and isn't new media and more shifts in cultural dynamics of media.
Bibliography
Creeber, G. (2009). DIGITAL THEORY: Theorizing New Media & Cubitt, D. (2009)
Manovich, L. (2001). The Language of New Media. MIT Press.
Jenkins, H. (2006). Convergence Culture: where old and new media collide. revised version. NYU Press.
Showing posts with label post-modernism. Show all posts
Showing posts with label post-modernism. Show all posts
Wednesday, 23 October 2013
Goggling the Gogglebox
When a theorist studies different forms of ideals and theories
they inclose their ideals into small groups relating to their time,
whilst thinking about where their proposals can go. Such as Modernists
look at, the improvement of the production line and industrial
revolution. Post-modernists look at the "changes that have taken
place after the industrial revolution" (Creeber, 2009, p15).
Here each set of theorists use their corresponding era's to identify
the audience/reader in which they use as evidence to their ideals.
Modernism is identified with a ruthless nature towards mass culture with it's structural high standards. Providing a hostile environment to any form of art other then high art, creating a tension that develops "modernism's reaction to the media's early development during the twentieth century"(Creeber, 2009, p12). One aspect of modernism's disdain is found through the studies of 'The Frankfurt School'. The School looks upon media as a rotating production line that processes the same tried blueprints, which revealed mass cultures gullibility.
If we take this brief understanding of modernism and apply it to the ideals of the television show Gogglebox (2012, television programme, Channel 4, UK) we soon find out that mass cultures gullibility no longer identifies with the lower class state, but uses the emergence of the classes to pinpoint the unending growth of post-modernism.
"If the “post- modernism” of the 1980s was the first, preliminary echo of this shift still to come—still weak, still possible to ignore—the 1990s’ rapid transformation of culture into e-culture" (Manovich, 2002, p32) changed our belief in the construction New media.
The new form of e-culture lead the change by letting the viewer goggle upon the gogglebox, in which the user of the medium could view all that goes on behind and in front of the screen. With connections with the collective community found inside the online sphere. We can now find that the productive nature behind modernism only found theoretical states, allowing post-modernism to power above the psychical territory and preform along side the goggle crazed society.
Bibliography:
Creeber, G. (2009). DIGITAL THEORY: Theorizing New Media & Cubitt, D. (2009) Case Study: Digital Aesthetics in ED. Creeber, G. & Royston, M. (2009) Digital Cultures: Understanding New Media; Maidstone, Open University Press.
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media (Cambridge, Mass :London MIT Press)
Modernism is identified with a ruthless nature towards mass culture with it's structural high standards. Providing a hostile environment to any form of art other then high art, creating a tension that develops "modernism's reaction to the media's early development during the twentieth century"(Creeber, 2009, p12). One aspect of modernism's disdain is found through the studies of 'The Frankfurt School'. The School looks upon media as a rotating production line that processes the same tried blueprints, which revealed mass cultures gullibility.
If we take this brief understanding of modernism and apply it to the ideals of the television show Gogglebox (2012, television programme, Channel 4, UK) we soon find out that mass cultures gullibility no longer identifies with the lower class state, but uses the emergence of the classes to pinpoint the unending growth of post-modernism.
"If the “post- modernism” of the 1980s was the first, preliminary echo of this shift still to come—still weak, still possible to ignore—the 1990s’ rapid transformation of culture into e-culture" (Manovich, 2002, p32) changed our belief in the construction New media.
The new form of e-culture lead the change by letting the viewer goggle upon the gogglebox, in which the user of the medium could view all that goes on behind and in front of the screen. With connections with the collective community found inside the online sphere. We can now find that the productive nature behind modernism only found theoretical states, allowing post-modernism to power above the psychical territory and preform along side the goggle crazed society.
Bibliography:
Creeber, G. (2009). DIGITAL THEORY: Theorizing New Media & Cubitt, D. (2009) Case Study: Digital Aesthetics in ED. Creeber, G. & Royston, M. (2009) Digital Cultures: Understanding New Media; Maidstone, Open University Press.
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media (Cambridge, Mass :London MIT Press)
Understanding New Media
In order to understand and theorise New Media, Creeber takes us on a journey, beginning with the notion of modernism and how it relates to "old media", before going on to look at post-modernism and its links with New Media, as well as looking at structuralism and post-structuralism along the way.
To begin with, modernism is defined as an umbrella term, describing "how human society responded to changes of industrial revolution" and how, through science, it challenged the traditional "theocratic, God-centred notion of society" (Creeber, 2009, pp.11). Originally providing optimism through its potential to advance society, industrialisation came to be described as "the enemy of free thought and individuality" due to the negative effects well documented, for example, in the First and Second World Wars (Creeber, 2009 pp.12). In an attempt to capture this hypocrisy, the modernist art movement sought to "represent the fragmentation of this new world" (ibid.).
Another notable example of those sharing an antipathy for the media would be The Frankfurt School. Their perception of the media being "a standardised product of industrialisation" led to the development of what they called "The Culture Industry" with the simple the idea that every part of mass culture was the same; TV shows, magazines, films etc. and were simply consumed passively by the masses. (Creeber, 2009 pp.13) This idea was further developed in the structuralist movement which employed the use of semiotics to "decode media texts as signs (to show that) "individuals are shaped by structures over which they have no control" (Creeber, 2009 pp.14).
This ideology is effectively reversed when applied to the notion of post-structuralism, brought about by post-modernism, which is described as being associated with "changes that have taken place after the industrial revolution" (Creeber 2009, pp.15). In comparison to its modernist equivalent, post-structuralism "takes a less deterministic view about the nature of the media as a whole" (Creeber, 2009, pp.15) and this could be due to the fact that, within such a society, there exists a "distrust of a stable and fixed notion of the 'real'"(Creeber, 2009 pp.18).
To begin with, modernism is defined as an umbrella term, describing "how human society responded to changes of industrial revolution" and how, through science, it challenged the traditional "theocratic, God-centred notion of society" (Creeber, 2009, pp.11). Originally providing optimism through its potential to advance society, industrialisation came to be described as "the enemy of free thought and individuality" due to the negative effects well documented, for example, in the First and Second World Wars (Creeber, 2009 pp.12). In an attempt to capture this hypocrisy, the modernist art movement sought to "represent the fragmentation of this new world" (ibid.).
Another notable example of those sharing an antipathy for the media would be The Frankfurt School. Their perception of the media being "a standardised product of industrialisation" led to the development of what they called "The Culture Industry" with the simple the idea that every part of mass culture was the same; TV shows, magazines, films etc. and were simply consumed passively by the masses. (Creeber, 2009 pp.13) This idea was further developed in the structuralist movement which employed the use of semiotics to "decode media texts as signs (to show that) "individuals are shaped by structures over which they have no control" (Creeber, 2009 pp.14).
This ideology is effectively reversed when applied to the notion of post-structuralism, brought about by post-modernism, which is described as being associated with "changes that have taken place after the industrial revolution" (Creeber 2009, pp.15). In comparison to its modernist equivalent, post-structuralism "takes a less deterministic view about the nature of the media as a whole" (Creeber, 2009, pp.15) and this could be due to the fact that, within such a society, there exists a "distrust of a stable and fixed notion of the 'real'"(Creeber, 2009 pp.18).
Creeber, G. (2009) Digital Theory: Theorising New Media (Maidstone: OUP)
Cubitt, D. (2009) Case Study: Digital Aesthetics in Creeber, G. (2009) Digital Theory: Theorising New Media (Maidstone: OUP)
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